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What critics compared The Wages of Fear to
While the gold bars may not be as dangerous as the nitroglycerin found in The Wages of Fear (1953) or Sorcerer (1977), losing one could mean Murphy’s deal with Clancy is void.
Henri-Georges Clouzot’s “The Wages of Fear”…
…think Henri-Georges Clouzot’s “The Wages of Fear”…
…and a whole lot of Henri-Georges Clouzot’s “The Wages of Fear” (1953)…
A sturdy and altogether reliable riff on “The Wages of Fear” in the age of “Train Dreams,”…
…a quest as gruelling as anything experienced in such classics as The Wages Of Fear…
Laxe begins to invoke both The Wages of Fear and Sorcerer, ratcheting up the tension…
…or even Henri-George Clouzot’s The Wages Of Fear but with a poetry and rigour all of its own…
The cinematic influences from which Laxe and Fillol have drawn are fairly obvious, from “The Wages of Fear” to “Mad Max.”
…as well as Clouzot’s 1953 Wages of Fear, which won the Cannes Fest top prize…
The classic French film “The Wages of Fear” infamously served as the inspiration for William Friedkin’s 1977 masterpiece “Sorcerer,” and “Sirât” is both aesthetically and quality-wise a deserving third chapter in this unusual trilogy.
Sirât could be described as an anarcho-hippie Wages Of Fear…
You have to go back to Henri-Georges Clouzot's 1952 "The Wages of Fear" (recently shown at the Biograph) to recall suspense this relentless.
William Friedkin’s follow-up to The Exorcist was Sorcerer, an adaptation of Georges Arnaud’s novel The Wages of Fear, which also inspired Henri-George Clouzot’s film of the same name.
The plot of William Friedkin's suspense thriller originated with the same Georges Arnaud novel that inspired Henri-Georges Clouzot's French suspense classic The Wages of Fear (1953).
It's based on the George Arnaud novel "The Wages of Fear" -- the same novel that inspired Henri-Georges Clouzot's 1953 film of the same name -- and everything else about the story is really only details in service of the chief plot development: All four main characters, in need of precious pesos to help them complete their transformed identities, are hired to drive two trucks laden with nitroglycerin over a mountain range, through a jungle and to the site of an oil-well-turned-inferno.
Sorcerer is, after all, a remake of Henri-Georges Clouzot's The Wages of Fear , though credited in the film as an adaptation of Georges Arnaud's novel.
There’s a moment in the interview with William Friedkin which forms this Blu-ray disc’s only extra in which he insists that Sorcerer is not a remake of The Wages of Fear , the award-winning and highly praised drama directed by Henri-Georges Clouzot in 1953.
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…it's like The Wages of Fear redone at roller-coaster tempo.
The result is clean, delirious, and, yes, speedy—the best big-vehicle-in-peril movie since Clouzot’s “The Wages of Fear.”
One would have to go back to The Wages of Fear , Henri-Georges Clouzot's 1953 film about hired European workers moving nitroglycerin over mountain dirt roads, to match The Hurt Locker 's mix of intelligent character observation and white-knuckle tension.
Bizarrely, what begins as a reprise of the drug-crazed Alfred Molina scene from Boogie Nights mutates unexpectedly into an LA-bound remake of The Wages of Fear , with kids instead of dynamite as the truck’s volatile cargo.
On the upside, this may be no "The Wages of Fear," but most of the action is compelling, even during the flood scenes, where it's tough to piece together exactly who is where and what's happening to whom.
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For the film-nerdy there are allusions to Duel or even The Wages of Fear and/or Sorcerer abound (we've got a truck, and bad things are afoot), but the purest exemplar I can equate it to is the Mercedes transport that Indiana Jones beats up midway through Raiders of the Lost Ark.